Fantastic Four Marvel Masterworks volume 12


By Stan Lee, Archie Goodwin, Roy Thomas, John Buscema, Joe Sinnott & various (Marvel)
ISBN: 978-0-7851-4218-8 (HB)

Monolithic modern Marvel truly began with the adventures of a small super-team who were as much squabbling family as coolly capable costumed champions. Everything the company produces now is due to the quirky quartet and the groundbreaking, inspired efforts of Stan Lee and Jack Kirby…

This full-colour compendium – available in hardcover and digital editions – collects Fantastic Four #117-128: spanning December 1971 to November 1972 with Stan Lee surrendering the scripting chores whilst John Buscema and Joe Sinnott did their utmost to remake Jack Kirby’s stellar creation in their own style and image and outdoing themselves with every successive issue…

What You Should Already Know: maverick scientist Reed Richards, his fiancé Sue Storm, their close friend Ben Grimm and Sue’s teenaged tag-along little brother Johnny miraculously survived an ill-starred private space-shot after cosmic rays penetrated their stolen ship’s inadequate shielding. As they crashed back to Earth the uncanny radiation mutated them all in unimaginable ways…

Richards’ body became astoundingly elastic, Sue gained the power to turn invisible and project forcefields whilst Johnny could turn into living flame and tragic Ben devolved into a shambling, rocky freak. They agreed to use their abilities to benefit mankind and thus was born the Fantastic Four.

Following an effusive Preface from Lee and a candid, context-creating and fact-filled Introduction by Roy Thomas, the drama opens with the team in turmoil as usual. After saving the world (from the Over-mind) the heartsick Human Torch headed for the Himalayas and a long-delayed rapprochement with his lost girlfriend Crystal of the Uncanny Inhumans in FF #117.

Months previously she had been forced to leave civilisation because modern pollutants had poisoned her system, but when blazing mad Johnny Storm battled his way into her homeland in ‘The Flame and the Quest!’ (written by Archie Goodwin) he is horrified to discover that she had never arrived back in the Great Refuge of Attilan

Flying way back to New York, Johnny consults part-time nanny and career-sorceress Agatha Harkness who tracks Crystal down in Central American dictatorship Terra Verde. Arriving there exhausted and expectant, Johnny finds his love is the mesmerised slave of arcane alchemist Diabolo.

The mystic has convinced the populace – and Crystal – that she is a reborn goddess and needs her to seize control in ‘Thunder in the Ruins!’ (inked by Jim Mooney). He would have succeeded too, if not for that flaming kid…

The issue also included an intriguing short piece starring the Thing in ‘What Mad World?’ (Goodwin, Buscema & Mooney) wherein the Tragic Titan is afforded a glimpse of an alternate Earth where an even greater mishap occurred after the fateful spaceflight which created the FF…

The Black Panther – cautiously renamed Black Leopard for contemporary political reasons – guest-starred in #119’s ‘Three Stood Together!’ as inker Sinnott returned and Roy Thomas scripted a damning – if shaded – indictment of South African apartheid.

When the heroic ruler of jungle wonderland Wakanda is interned in the white-ruled state of Rudyarda, Ben and Johnny fly in to bust him out and clash with old enemy Klaw who is attempting to steal a deadly new super-weapon…

Fantastic Four #120 heralded an extended and overlong epic by Stan Lee which began with ‘The Horror that Walks on Air!’ as a seemingly omnipotent invader claiming to be an angel scours the Earth and declares humanity doomed.

The tale laboriously continues in ‘The Mysterious Mind-Blowing Secret of Gabriel!’ with the recently reunited and utterly overmatched quartet saved by the late-arriving Silver Surfer before facing off against world-devouring ‘Galactus Unleashed’, before Reed again outsmarts the cosmic god to prevent the consumption of ‘This World Enslaved!’

Although beautifully illustrated, the hackneyed saga was a series low-point, but Lee was back on solid dramatic ground with #124’s ‘The Return of the Monster’ and concluding episode ‘The Monster’s Secret!’ wherein the mystery menace Reed had once dubbed ‘the Monster from the Lost Lagoon’ resurfaces to haunt a Manhattan hospital, steal drugs and kidnap Sue… but only for the best and most noble of reasons…

Roy Thomas assumed the role of writer/editor with #126, revisiting the classic origin and first clash (from FF #1) with the Mole Man in ‘The Way it Began!’ this was all mere prelude for what was to follow…

The reverie prompts the Thing to invade the sub-surface despot’s realm in search of a cure for the blindness which afflicts his girlfriend Alicia Masters in ‘Where the Sun Dares Not Shine!’ and all-too soon the embattled brute is embroiled in a three-way war between Mole Man, Kala, Empress of the Netherworld and immortal dictator Tyrannus.

When his comrades go after Ben they are duped into attacking him in ‘Death in a Dark and Lonely Place!’

The narrative concluded for the moment, there follow four pages of pin-ups by Buscema & Sinnott highlighting ‘The Fabulous F.F.’s Friends… and Foes’, plus the Kirby & Vince Colletta cover to 1971’s all-reprint Fantastic Four Annual #9 to wrap up this morsel of Marvel magic.

Although Kirby had taken the explosive imagination and questing sense of wonder with him on his departure, the sheer range of beloved characters and concepts he had created with Lee served to carry the series for years afterwards. These admittedly erratic and inconsistent stories kept the team book ticking over until bolder hands could once again take the World’s Greatest Comics Magazine Heroes back to the stratospheric heights where they belonged.

Solid, honest and creditable efforts, these tales are probably best appreciated by dedicated superhero fans and continuity freaks like me, but they can still thrill and enthral the generous and forgiving casual browser looking for an undemanding slice of graphic narrative excitement.
© 1971, 1972, 2017 Marvel Characters, Inc. All rights reserved

Captain America Marvel Masterworks volume 6


By Stan Lee, Gary Friedrich, Gene Colan, John Romita, Gray Morrow, Sal Buscema & various (Marvel)
ISBN: 978-0-7851-5875-2 (HB)

Created by Joe Simon & Jack Kirby in an era of frantic patriotic fervour, Captain America was a dynamic and highly visible response to the horrors of Nazism and the threat of Liberty’s loss.

He faded away during the post-war reconstruction but briefly reappeared after the Korean War: a harder, darker sentinel ferreting out monsters, subversives and the “commies” who lurked under every brave American kid’s bed. Then he vanished once more until the burgeoning Marvel Age resurrected him just in time for the turbulent, culturally divisive 1960s.

By the time of the tales gathered in this sixth Masterworks volume (available in luxurious hardback and accessible eBook formats) – comprising issues #137-148 of his monthly comicbook from May 1971 to April 1972 – the Star-Spangled Avenger had become an uncomfortable symbol of a troubled, divided society, split along age lines and with many of the hero’s fans apparently rooting for the wrong side.

Now into that turbulent mix crept issues of racial and gender inequality…

Following a fond and forthright reminiscence from illustrator John Romita in his Introduction, the action opens here with the Star-Spangled Avenger, still notionally working with – if not for – super-scientific government spy-agency S.H.I.E.L.D. (which back then stood for Supreme Headquarters International Espionage Law-enforcement Division), returning to Earth after a blistering battle against the malign Mole Man. With him was his now full-time, fully-fledged partner the Falcon.

As scripted by Stan Lee and illustrated by Gene Colan & Bill Everett, the neophyte hero, seeking to impress his mentor, opts ‘To Stalk the Spider-Man’. This typical all-action Marvel misunderstanding led to plenty of unnecessary fighting until forestalled as mob boss Stone-Face returns to settle old scores in #138’s ‘It Happens in Harlem!’

John Romita the elder returned to the art chores to depict Spider-Man and Cap rescuing the Falcon and ending the gangster’s dream of monetising New York’s racial unrest before the Good Captain is whisked away for a top-secret mission heralding the beginning of a lengthy and direction-changing saga…

For years Captain America had been the only expression of Steve Rogers’ life, but with the next issue the man went undercover as a police officer to solve a series of disappearances and subsequently regained a personal life which would have long-term repercussions.

Once Spidey, Falcon and Cap trounced Stone-Face, the Red, White and Blue is subsumed by plain Rookie Blues in ‘The Badge and the Betrayal!’ and Steve finds himself on a Manhattan beat as the latest raw recruit to be bawled out by veteran cop Sergeant Muldoon

Meanwhile, as police officers continue to disappear in increasing numbers and Rogers is getting into more fights on the beat than in costume, social worker Sam (Falcon) Wilson is challenged by seductive black activist Leila Taylor and undergoes a far from voluntary and unwanted audition for S.H.I.E.L.D. …

Issue #140 reveals the plot’s perpetrator as ‘In the Grip of Gargoyle!’ takes events in a frankly bizarre direction, with moody urban mystery inexplicably becoming super-spy fantasy as the villainous Grey Gargoyle steals a mega-explosive from S.H.I.E.L.D. and turns the Falcon into his petrified minion.

With Joe Sinnott inking, Lee & Romita deliver ‘The Unholy Alliance!’ as the stony duo attack a secret base stockpiling ultimate explosive Element X, with Cap, renewed love interest Sharon Carter and Nick Fury attempting to save the world and the Falcon from the Gargoyle…

Spectacular but painfully confusing until now, the epic was dumped on new writer Gary Friedrich to wrap up with ‘And in the End…’ (Captain America and the Falcon #142) wherein the resurgent heroes race a countdown clock of doom to save the day…

All this time Sam had been trying to get friendly with “Black Power” activist Leila and, with the sci fi shenanigans over, a long-running subplot concerning racial tensions in Harlem boiled over…

‘Power to the People’ and ‘Burn, Whitey, Burn!’ (both from giant-sized #143 with Romita inking his own pencils) sees the riots finally erupt with Cap and Falcon caught in the middle, before copping out with the final chapter by taking a painfully parochial and patronising stance and revealing that the seething unrest amongst the ghetto underclass has been instigated by a rabble-rousing fascist super-villain in ‘Red Skull in the Morning… Cap Take Warning!’

Nevertheless, Friedrich made some telling and relevant points – and continued to do so in CA&F #144’s first story ‘Hydra Over All!’ (illustrated by Romita) with the creation of S.H.I.E.L.D.’s all-woman attack squad Femme Force One (stop squirming – at least they were trying to be egalitarian and inclusive…). To facilitate their efficacy they were assigned to train with the Sentinel of Liberty himself…

The issue also offered a solo back-up tale ‘The Falcon Fights Alone!’ (by Friedrich and drawn by the great Gray Morrow) wherein the street vigilante designs a new uniform and rededicates himself to tackling the real problems on his turf: drug-dealers, thieves, racketeers and thugs endangering the weakest, poorest members of society…

Captain America and the Falcon #145 expanded the Hydra storyline with ‘Skyjacked’ (stunningly illustrated by Gil Kane & Romita) as the hooded terrorists kidnap Cap’s new team in mid-air…

Sal Buscema began his long tenure on the series with ‘Mission: Destroy the Femme Force!’ and ‘Holocaust in the Halls of Hydra!’ (#146 and inked by John Verpoorten) wherein devious dealings in the halls of power are uncovered before Falcon races to the rescue of the severely embattled and outgunned heroes, culminating in the unmasking of the hidden operator behind the villainous throne in #147’s ‘And Behind the Hordes of Hydra…’: a staggering battle royale in Las Vegas with a hierarchy of old villains exposed, wherein the ultimate power behind the power reveals himself in Friedrich’s swansong ‘The Big Sleep!’

Rounding out the riotous adventure, bonus extras include the cover to the all-reprint Captain America Annual #2, assorted house ads and a rare Romita colour rough for Captain America #139…

Any retrospective or historical re-reading is going to turn up a few cringe-worthy moments, but these tales of matchless courage and indomitable heroism are always fast-paced, action-packed and illustrated by some of the greatest artists and storytellers American comics has ever produced.

As the nation changed Captain America was finally discovering his proper place in a new era and would once more become unmissable, controversial comicbook reading, as we shall see when I get around to reviewing the next volume…
© 1971, 1972, 2012, 2017 Marvel Characters, Inc. All rights reserved.

Ant-Man: Scott Lang


By David Michelinie, Bob Layton, Tom DeFalco, John Byrne, Jerry Bingham, George Pérez, Luke McDonnell, Ron Wilson, Greg LaRocque & various (Marvel)
No ISBN

With another Marvel filmic franchise follow-up hitting screens around the world, here’s a timely tie-in trade paperback (or eBook) collection designed to perfectly augment the cinematic exposure and cater to movie fans wanting to follow up with a comics experience.

This treasury of tales reprints all the early adventures of legacy hero Scott Lang, taken from Marvel Premiere #47-48, Iron Man #133-135 and 151, Avengers #195-196 & 223, Marvel Team-Up #103 and Marvel Two-in-One #87, convolutedly spanning April 1979 to March 1983.

The unlikeliest of valiant titans originally appeared in Tales to Astonish #27, released at the end of 1961, one month after Fantastic Four #1 hit the newsstands: a 7-page short which introduced maverick scientist Dr Henry Pym, who discovered a shrinking potion and became ‘The Man in the Anthill!’

Overwhelmed and imperilled by his startling discovering, the lonely researcher found wonder and even a kind of companionship amongst the lowliest creatures on Earth… and under it…

It was intended as nothing more than another here-today, gone-tomorrow filler in one of the company’s madly engaging pre-superhero “monster-mags”. However, the character struck a chord with someone since, as the DC Comics-inspired superhero boom flourished and Lee sprung the Hulk, Thor and Spider-Man on the unsuspecting kids of America, Pym was economically retooled as a fully-fledged costumed do-gooder for TtA #35 (September 1962).

You can read about his extremely eccentric career elsewhere, but suffice it to say Pym was never settled in his persona and changed name and modus operandi many times before junking his Ant-Man identity for the reasonably more stable and far more imposing identity of Yellowjacket

Comics creators are six parts meddler and five parts nostalgia buff and eventually somebody convinced somebody else that the concept and property of Ant-Man could be viable again…

Thus we begin here with the introduction of reformed thief Scott Lang who debuted in Marvel Premiere #47 (April 1979). Those first somebodies were David Michelinie, John Byrne & Bob Layton who produced ‘To Steal an Ant-Man!’, revealing how a former electronics engineer had turned to crime – more out of boredom than necessity – and after being caught and serving his time joined Stark Industries as a determinedly reformed character…

But then his daughter Cassie developed a heart condition which wiped out his savings, forcing Scott to revert to old ways to save her…

Desperate to find the wherewithal to hire experimental surgeon Dr. Erica Sondheim, he begins casing likely prospects, but is shattered when she is abducted by psychotic industrialist Darren Cross who is currently using all the resources – legal or otherwise – of his mega-corporation Cross Technological Enterprises to keep himself alive…

Needing cash now just to broach the CTE complex, Lang goes back to Plan A and burgles the lab of retired superhero Henry Pym and discovers mothballed Ant-Man gear and size-changing gases. In a moment of madness Lang decides not to sell the stolen tech but instead use the outfit to break in to Cross’ citadel and rescue Sondheim…

That plan doesn’t go so great either as the dying billionaire, in a desperate attempt to stay alive, had been harvesting the hearts of homeless people to power an experimental device which had mutated him into a monstrous brute…

After learning with horror ‘The Price of a Heart!’ (June 1979), Scott eventually triumphs; unaware until the very last that Pym had allowed him to take the suit and was backstopping him every inch of the way. With Cassie saved, Yellowjacket then invites Lang to continue as the new Ant-Man…

Crafted by Michelinie, Jerry Bingham & Bob Layton, Iron Man #133-135 (February – April 1980) then delivers the Small Wonder’s first proper exploit in ‘Hulk is Where the Heart Is! after his boss Tony Stark is confronted with a rampaging gamma goliath attacking the Long Island factory.

Having successfully calmed the creature back into his human Bruce Banner state, Stark calls in his newest whiz kid employee Scott Lang to help craft a micro-device to keep the tortured scientist in passive mode permanently.

Of course, that works out well…

With Hulk’s persona trapped in Banner’s body, the Stark team race to fix the foul-up before the patient fatally strokes out or worse in ‘The Man Who Would be Hulk’ but their success only leaves them with a really ticked-off Emerald Titan who resumes smashing everything in sight.

Forced to amp his armour to overload, Iron Man manages to knock out the Hulk, only to collapse, trapped and dying inside his own metal suit…

With his boss and friend in dire need, Scott then suits up and shrinks down to open the high-tech shroud and save ‘The Hero Within!’… if the suit’s internal defences don’t get him first…

In Iron Man #151 (October 1981, by Michelinie, Luke McDonnell & Layton) Ant-Man again takes centre-stage for ‘G.A.R.D.’s Gauntlet’ as the repercussions of yet another attack on Stark’s factory triggers a catastrophic systems failure, trapping Lang in an extremely hostile lab environment with the mechanized defence systems treating him as an intruder. Cue shrinking gas, many six-legged pals and total chaos…

Ant-Man got his first dose of team action in Avengers #195 (May 1980) in ‘Assault on a Mind Cage!’ (Michelinie, George Pérez, Jack Abel & Dan Green) when Hank Pym asks him to help infiltrate a suspicious asylum believed to be holding the Wasp hostage. What the miniature marvels uncover is illegal cloning for spare parts and a madman using the facilities to train henchmen for major villains and mob bosses…

The climactic clash resulting from ‘The Terrible Toll of the Taskmaster’ (#196 June 1980, by Michelinie, Pérez & Abel) wrecks the joint but leaves Lang one step closer to redemption and stardom…

Thanks to Michelinie, Greg LaRocque, Brett Breeding & Crew, Lang again faced Taskmaster in ‘Of Robin Hoods and Roustabouts’ (Avengers #223, September 1982) when he and Cassie attended a circus and stumbled into Hawkeye trying to extricate an old friend from the maniac’s clutches and influence.

It started becoming a regular event when Taskmaster resurfaced in Marvel Team-Up #103 (March 1983). Crafted by Michelinie, Jerry Bingham & Mike Esposito ‘The Assassin Academy’ sees the diminutive neophyte hero saving Spider-Man from becoming an object lesson for the graduating class at another deadly school for henchmen: a spectacular and memorable clash against the villainous lifestyle coach…

The last tale comes from Marvel Two-In-One #87 (May 1982) and begins when the Fantastic Four call in Ant-Man after The Thing is abducted by sub-atomic beings. The resultant rescue mission sees Scott help the rocky rogue defeat a duplicitous queen, high-tech barbarians and awesome aliens in the ‘Menace of the Microworld!’ by Tom DeFalco. Ron Wilson & Chic Stone…

The pint-sized, power-packed delights then conclude with a fulsome cover gallery, a fact-filled entry from the Marvel Universe Handbook, original art pages by Byrne, Layton, Bingham and McDonnell as well as a few surprise extras…

Hopefully answering any questions the silver screen sagas might throw up, whilst providing an immense amount of spectacularly bombastic fighting fun, this quirky slice of up-scaled and down-sized derring-do is a non-stop feast of tense suspense, whacky fun and blockbuster action: another well-tailored, on-target tool to turn curious movie-goers into fans of the comic incarnation and one more solid sampling to entice the newcomers and charm even the most jaded slice ‘n’ dice fanatic.
© 1978, 1979, 1980, 1982, 1983, 2015 Marvel Characters Inc. All rights reserved.

Golden Age U.S.A. Comics Marvel Masterworks volume 1


By Phil Sturm, Stan Lee, Pierce Rice, Al Avison, Al Gabriele, Basil Wolverton, Syd Shores, George Klein, Charles Nicholas, Howard Purcell, Arthur & Louis Cazeneuve, Arthur Cazeneuve, Mike Suchorsky, Ed Winiarski, Frank Giacoia, Carmine Infantino & various (Marvel)
ISBN: 978-0-7851-2478-8

DC was quick off the mark in transferring their Golden Age canon into luxurious archive formats, whereas it took their greatest rival quite a while to commit its earliest output to paper (and latterly digital formats). One reason for that might be the unsavoury fact that a great deal of Marvel Comics’ Timely and Atlas output is both dated and frequently painfully strident, and even histrionically offensive, to modern eyes and sensibilities.

Even so, I’d rather have the raw historical form rather than any bowdlerised or censored reworking and even in their most jingoistic and populist excesses there are usually individual nuggets of gold amidst the shocking or – horror of horrors! – poorly crafted yarns from the House of Ideas’ antediluvian antecedents.

Marvel have thankfully caught up now with most of their pre-1960’s output, and there’s quite a lot to be said for putting the material in sturdy archival hardbound volumes for those early comic adventures. I must admit that when they were good the individual efforts could be very good indeed…

The quarterly USA Comics launched with an August 1941 cover-date and the four complete issues collected here reveal a period of intense experimentation and constant change as the eager neophyte publisher weaned themselves away from the “comics shop” freelancers-for-hire production system and began to build a stable – or bullpen – of in-house creators.

Since these stories come from a time of poor record-keeping, frantic scrabbling to fill pages and under the constant threat of losing staff and creators to the war-effort, the informative introduction discussing the lack of accurate creator detail and best-guess attributions from diligent and dedicated comics historian Dr. Michael J. Vassallo is a godsend for interested fans.

With covers (by Joe Simon & Jack Kirby) and House ads reproduced throughout, the World War Wonderment and Patriotic Perils begin with The Defender illustrated by Al Avison, Al Gabriele, Joe Simon and diverse unknown hands (who might or might not have been Sam Cooper, Al Fagaly, George Klein & Charles Wojtkoski AKA “Charles Nicholas”).

This short-lived sentinel of liberty was another flag-clad patriotic mystery-man who, with designated boy sidekick Rusty, here smashes a band of Nazi-backed river pirates plaguing Manhattan’s waterways.

Next comes the utterly outrageous origin of The Whizzer (by Avison & Gabriele) which saw young Bob Frank gain super-speed after his dying father injects him with mongoose blood to counteract jungle fever and snakebite.

Orphaned and vengeful, the young man dedicates his life to stopping criminals such as the thugs who had forced his ailing parent to hide and die in a tropic hellhole…

‘Mr. Liberty debuted in ‘The Spirits of Freedom’ by Phil Sturm, Syd Shores, & Klein as, with war erupting everywhere, history Professor John Liberty is visited by the ghosts of American patriots past who offer him supernatural assistance to stamp out all threats to democracy.

After Arthur Cazeneuve’s prose crime-thriller ‘Haunted Fireplace’ the astonishing Rockman: Underground Secret Agent blazes into action in ‘The Tunnel That Led to Death’. Crafted by the incomparable Basil Wolverton – but with a splash page drawn by Nicholas – this esoteric yarn introduces an anti-fascist defender of democracy from Abysmia; a super-scientific kingdom situated miles below American soil. Their king is determined to safeguard his upstairs neighbours from tyranny and oppression…

Working as Michael Robard, Howard Purcell then stylishly introduces ‘Young Avenger’: a junior superman summoned by mystic voices to battle spies and saboteurs, before arctic elemental ‘Jack Frost’ springs to life to avenge a murder on ice in a classy origin yarn by Stan Lee & Nicholas.

This polar opposite to the Human Torch (I’m such a wag, me) travels to New York and soon occupies the same well-intentioned/hunted menace/anti-hero niche pioneered by both the blazing android and the Sub-Mariner: a much-used formula still effective to this day…

USA #2 (November 1941) premiered a new, nautically-themed costumed crusader in ‘Captain Terror Battles the Fiends of the Seas’ (by Mike Suchorsky). Retired gentleman adventurer Dan Kane returns to a masked identity he had adopted during the Spanish War to hunt down a Nazi destroyer haunting American waters in an action-packed, extra-long exploit.

Then, with the Allied effort increasing on all fronts in the real world, civilian “Mr.” becomes ‘Major Liberty’ (by Shores & Klein) to crush a monster-making Nazi who transforms a peaceful Caribbean resort into ‘The Island Menace!’

Ed Winiarski then introduces Assistant District Attorney Murphy who opts to crush Home Front racketeers disguised as gaudy tramp Chauncey Throttlebottom III AKA ‘The Vagabond’ after which ‘The Defender’ (by Klein) takes Rusty south of the border to quash a plot to destabilise the USA’s South American allies.

A text piece describing ‘When USA Heroes Meet!’ by Stan Lee is followed by another Wolverton Rockman stunner wherein the Subterranean Supremo tackles Zombo the Hypnotist whose mesmeric powers makes men slavish ‘Killers of the Sea’.

After an uncredited ‘Jack Frost’ exploit finds the freezing fugitive avoiding cops but still destroying a marauding robot octopus ship, ‘The Whizzer’ – sadly also unattributed – ends a string of murders by jockey-fixers ruining the horse-racing industry.

USA Comics #3 (January 1942) commences with Suchorsky’s ‘Captain Terror and the Magic Crystal of Death’, as the bold buccaneer spectacularly smashes a sabotage ring organised by wicked ersatz gypsies, before Major Liberty faces – or rather doesn’t, if you get my point – a cunning killer masquerading as ‘The Headless Horseman’ (Shores & and an unnamed assistant) and Winiarski’s delightful Vagabond demolishes yet another would-be kingpin of crime.

Once The Defender finishes off a hyperthyroid maniac dubbed ‘The Monster Who Couldn’t be Stopped!’ (Klein), Lee’s prestidigitation prose piece ‘Quicker than the Eye!’ gives way to the latest Rockman instalment which he’d scripted for Nicholas to illumine; a broad fantasy set in Jugoslavia where the beauteous Princess Alecia has been abducted by evil pixies: Object: Matrimony!

Young wannabes Frank Giacoia & Carmine Infantino got a big boost to their careers when they illustrated the anonymously-scripted Jack Frost yarn involving strong-arm thugs forcing hospitals to buy their adulterated black market drugs and, after an engaging ‘Unsolved Mysteries’ feature page (which included who created it), Winiarski debuts Tom ‘Powers of the Press’ – a reporter and refreshingly plainclothes hero who, with the aid of diminutive photographer Candid Kenny Roberts, tracks down murderous payroll bandits to explosively end the third issue.

Major Liberty takes the cover and lead spot in USA #4 (May 1942), using his ghostly gifts to smash a gang of spies and infiltrators terrorising German-born Americans in a breathtaking romp from Shores & his unknown collaborator, after which Jack Frost battles deranged cryogenics researchers in ‘The Adventure of the Frozen Corpses’ – attributed to Pierce Rice & Louis Cazeneuve.

Next up, The Defender foils the maker of a deadly artificial fog, assisted as ever by Rusty and the skilled artistic endeavours of George Klein and others.

The Vagabond (by Winiarski and an unknown assistant) found the Faux Hobo exorcising a haunted castle in pursuit of a Mad Monk and loot from a decades-old cold case, after which anonymously-penned text thriller ‘Diamond of Juba’ precedes another Suchorsky Captain Terror tale, which sees the seaborne stalwart smashing a Nazi plot to starve Britain into submission.

The uncredited Rockman story details the Underworld Agent countering murder and banditry in Alaska, after which the equally unattributable Corporal Dix debuts in a stirring tale of a soldier on leave who still finds some time to close down a gang of cheap hoods and set his own wastrel brother on the right and patriotic path…

This premier collection then ends on a riotous high note as The Whizzer (by Howard James) finally comes up to full speed in a riotous action romp with the Golden Rocket crushing a gang of thieves targeting a brilliant boy-inventor.

Raw, boisterous and engagingly enthusiastic, these primal pulp exploits laid the groundwork for today’s superhero-saturated masked media darlings, and still impart a tangible frisson of straightforward, no-nonsense thrills, spills and chills to satiate every action fan’s every desire.
© 1941, 1942, 2007, 2018 Marvel Characters, Inc. All rights reserved.

Iron Man Marvel Masterworks volume 7


By Archie Goodwin, Allyn Brodsky, Mimi Gold, Gerry Conway, Don Heck, George Tuska, Gene Colan & various (Marvel)
ISBN: 978-0-7851-5044-2

Created in the aftermath of the Cuban Missile Crisis and at a time when “Red-baiting” and “Commie-bashing” were American national obsessions, the emergence of a brilliant new Thomas Edison employing Yankee ingenuity, invention and wealth to safeguard and better the World seemed inevitable.

Combined with the then-sacrosanct belief that technology and business could solve any problem with the universal imagery of noble knights battling evil, the concept behind the Invincible Iron Man seems an infallibly successful proposition.

Of course where once Tony Stark was the acceptable face of 1960s Capitalism: a glamorous millionaire industrialist/inventor and a benevolent all-conquering hero when clad in the super-scientific armour of his metal alter-ego, the tumultuous tone of the times soon resigned his suave, fat cat image to the dustbin of history and, with ecological disasters and social catastrophe from the abuse of industry and technology the new mantras of the young, the Golden Avenger and Stark International were soon confronting some tricky questions from the increasingly socially conscious readership.

All of a sudden maybe that money and fancy gadgetry weren’t quite so fun or cool anymore…?

This sterling hardback – or eBook – compilation covers the period June 1970 through June, re-presenting Iron Man #26-38 and incorporating a tumultuous team-up with the Man Without Fear from Daredevil #73 which held a key portion of a rather complex comics crossover.

Following Gerry Conway’s informative retrospective Introduction ‘Iron in the Fire’ original Iron Man artist Don Heck returned for the fantasy-fuelled romp ‘Duel in a Dark Dimension!’ (scripted by Archie Goodwin and inked by Johnny Craig) with guest villain The Collector kidnapping Tony Stark’s right-hand man Happy Hogan in an arcane plot to secure an extradimensional super-sword…

America’s mounting racial tensions take centre-stage in ‘The Fury of the Firebrand!’, introducing an inflammatory radical with a secret and highly personal agenda of hate aimed squarely at Stark and the fat cats he represents. The incendiary fiend is also a human napalm grenade…

Goodwin bowed out with #28’s riotous return match ‘The Controller Lives!’, wherein the mind parasite attacks Tony Stark and SHIELD agent Jasper Sitwell through an old girlfriend, after which Mimi Gold scripted an old-fashioned commie-buster yarn, drawn by Heck and inked by Chic Stone in #29, as Iron Man liberates a tropical paradise from its enslaving socialist overlords in ‘Save the People… Save the Country!’.

Impressive new kid on the block Allyn Brodsky took over as scripter with #30’s ‘The Menace of the Monster-Master!’: a rousing rampage full of Maoist menace as a giant lizard ravages Japan until the Golden Avenger steps in, takes charge and uncovers a cunning plot…

Far more intriguing is ‘Anything… For the Cause!’ wherein back-to-nature hippie protesters and outraged teen radicals are manipulated by an unscrupulous local businessman. This social drama also adds cool, young Irish brainbox Kevin O’Brian to the regular cast.

Then in #32’s ‘Beware… The Mechanoid!’ (illustrated by George Tuska & “Joe Gaudioso”) relates a salutary tale of a benign alien explorer who makes the lasting mistake of exploring America whilst disguised as a black man…

Heck & Gaudioso (actually moonlighting Mike Esposito) handled the art for ‘Their Mission: Destroy Stark Industries!!’ as corporate raider Spymaster unleashes his Mission: Impossible-inspired team the Espionage Elite to deprive America of both the inventor and his company. This fast-paced thriller concluded in bombastic finale ‘Crisis… and Calamity!!’ which saw the near-death of a cast regular and the advent of a darker, more driven Armoured Avenger…

Something of a comics wunderkind, Gerry Conway assumed the writer’s reins in Iron Man #35 as the traumatised hero seeks ‘Revenge!’ on the Spymaster but is distracted by an ongoing battle between Daredevil, Nick Fury, Madame Masque and the global criminal network called Zodiac – all contesting ownership of an extra-dimensional wish-granting super weapon.

That battle spills over into Daredevil #73 and a mass abduction into another dimension in ‘Behold… the Brotherhood!’ (by Conway, Gene Colan & Syd Shores) before messily and inconclusively concluding halfway through Iron Man #36 (illustrated by Heck & Esposito).

The battle for the Zodiac Key is necessarily shelved as the Steely Centurion is waylaid by terra-forming aliens in ‘…Among Men Stalks the Ramrod!’

Incapacitated and with his recently transplanted new heart critically damaged, Stark reveals his secret to Kevin O’Brian ‘In This Hour of Earthdoom!’ (inked by Jim Mooney) before retrenching and ultimately repelling the invaders. The drama pauses here in hard-boiled fashion and a pleasantly low-key note in an engaging gangster caper from Conway, Tuska & Esposito wherein Iron Man is forced to respond quite assertively ‘When Calls Jonah…!’

The galvanised wonderment also includes the cover of Iron Man Annual #1 and a selection of house ads to wrap up this collection with the Golden Gladiator being politically repositioned at a time when Marvel solidly set itself up at the vanguard of a rapidly changing America increasingly at war with itself.

With this volume Marvel firmly set itself in the camp of the young and the restless experiencing first-hand the social upheaval America was undergoing. This rebellious teen sensibility and increased political conscience permeated the company’s publications as their core audience grew from Flower Power innocents into a generation of aware activists. Future tales would increasingly bring reformed capitalist Stark into many unexpected and outrageous situations…

But that’s the meat of another review, as this engrossing graphic novel is done. From our distant vantage point the polemical energy and impact might be dissipated, but the sheer quality of the comics and the cool thrill of the perennial dream of man in perfect synchrony with magic metal remains. These superhero shenanigans are some of the most underrated but impressive tales of the period and are well worth your time, consideration and cold hard cash…
© 1970, 1971, 2017 Marvel Characters, Inc. All rights reserved.

Incredible Hulk Marvel Masterworks volume 6


By Roy Thomas, Herb Trimpe, Sal Buscema & various (Marvel)
ISBN: 978-0-7851-5042-8 (HB)

As the 1970s opened the Incredible Hulk had settled into a comfortable – if always spectacularly destructive – niche. The globe-trotting formula saw tragic Bruce Banner hiding and seeking cures for his gamma-transformative curse, alternately aided or hunted by prospective father-in-law US General “Thunderbolt” Ross and a variety of guest-star heroes and villains.

Herb Trimpe had made the character his own, displaying a penchant for explosive action and an unparalleled facility for drawing technology – especially honking great ordnance and vehicles. Scripter Roy Thomas – unofficial custodian of Marvel’s burgeoning shared-universe continuity – played the afflicted Jekyll/Hyde card for maximum angst and ironic heartbreak even as he continually injected the Jade Juggernaut into the lives of other stalwarts of Marvel’s growing pantheon…

This chronologically-curated hardback and eBook compendium treat re-presents issues #121-134 corresponding to cover-dates December 1969 through December 1970 and opens – after Thomas’ Introduction shares a few intimate behind-the-scenes secrets – with Incredible Hulk #122, hotly touting ‘The Hulk’s Last Fight!’ (Thomas & Trimpe).

When the Fantastic Four advertise a cure for Banner’s condition, the fraught physicist makes his way North from Florida, with the police and army hunting him every step of the way. His quest only falters at the very last moment thanks to a clerical error…

What should have been a quiet transition and resolution instead results in a shattering clash between the Hulk and FF, but eventually the beast is subdued and the cure attempted in concluding episode ‘No More the Monster!’

Sadly, even now that Banner has complete control of his inner demon, he learns that you don’t always get what you want – especially when gamma-super-genius the Leader involves himself in the plan.

Seemingly cured of the curse of the Hulk, Bruce Banner finally marries his troubled sweetheart Betty Ross, but ‘The Rhino Says No!’ and the subsequent set-to (rather heavily finished and inked by Sal Buscema) returns him to the tragic status quo of hunted, haunted antihero perpetually on the run…

Trimpe again took up the inker’s brush for the bludgeoning battle in #125 ‘And Now, the Absorbing Man!’ after which Doctor Stephen Strange guest-stars in trans-dimensional duel with the malign Undying Ones.

‘…Where Stalks the Night-Crawler!’ is a spooky, all-action tidying-up exercise closing a saga from the good Doctor’s own cancelled title – and one which ultimately led to the formation of the outsider super-team The Defenders.

In ‘Mogol!’ (#127) the child-like, eternally-lonely Hulk is transported to the Mole Man’s subterranean realm where he thinks he’s finally found a friend, only to endure bitter disappointment once more. His subsequent subterranean pain-filled rampage threatens to destroy California (#128) when he starts ripping his way surface-ward via the San Andreas Fault. And the American authorities are compelled to call in the Big Guns.

‘And in this Corner… The Avengers!’ sees the assembled heroes seeking a solution to the problem, but they can’t hold the Green Goliath long, leading him to more trouble when ‘Again, The Glob!’ attacks. The embattled Hulk has no idea old enemy The Leader is behind the swampy assault…

Incredible Hulk #130 then sees Banner totally divorce and separate himself from the Hulk in ‘If I Kill You… I Die’, but the scientifically-implausible separation has potentially disastrous consequences for Los Angeles, if not the world, and only Iron Man can help when ‘A Titan Stalks the Tenements!’

This powerful tale introduced black ghetto kid Jim Wilson and is made doubly enjoyable by the inking wizardry of the legendary John Severin who signed on for a 3-issue stint that would eventually turn into a long-term commitment.

In #132, the Hulk is ‘In the Hands of Hydra!’ – although not for long and to their eternal regret. His casually explosive escape leaves him stranded in Mediterranean totalitarian state Morvania, an unwilling freedom fighter against the despicable dictators Draxon on the ‘Day of Thunder… Night of Death!’

Sal Buscema returned as inker for the conclusion of the tale and end of this volume as ‘Among us Walks… the Golem!’ from Incredible Hulk #134 sees revolution free Morvania with the Jade Juggernaut as the most unlikely symbol of freedom ever…

The Hulk is one of the most well-known comic characters on Earth, and these stories, as much as the movies, TV shows and action figures, are the reason why. For an uncomplicated, honestly vicarious experience of Might actually being Right, you can’t do better than these yarns, so why not Go Green?
© 1969, 1970, 2018 Marvel Characters, Inc. All rights reserved.

Fantastic Four Marvel Masterworks volume 11


By Stan Lee, Archie Goodwin, John Buscema, John Romita, Jack Kirby, Joe Sinnott, & various (Marvel)
ISBN: 978-0-7851-3046-8 (HB)

Cautiously bi-monthly and cover-dated November 1961, Fantastic Four #1 (by Stan Lee, Jack Kirby, George Klein & Christopher Rule) was crude: rough, passionate and uncontrolled excitement.

Thrill-hungry kids pounced on it and the raw storytelling caught a wave of change starting to build in America. It and succeeding issues changed comicbooks forever.

In eight short years FF meteorically grew into the unmissable core-title and most consistently groundbreaking series of Marvel’s ever-unfolding web of cosmic creation: relentlessly bombarding readers with a ceaseless salvo of new concepts and characters at a time when Kirby was in his conceptual prime and continually unfettering his vast imagination on plot after spectacular plot.

Clearly inspired, Lee scripted some of the most memorable superhero sagas Marvel – or any publisher, for that matter – had or has ever seen.

Both were on an unstoppable roll, at the height of their creative powers, and full of the confidence that only success brings, with The King particularly eager to see how far the genre and the medium could be pushed…

However, nothing lasts forever and in 1971 the dream-team of Kirby & Lee was shockingly sundered. A reeling Marvel entered a new epoch of uncertain futures and bold new directions – which is rather ironic since it was the company’s reticence to give the artist creative freedom which led to Kirby’s jumping ship to National/DC in the first place…

Four Those Who Came in Late: As seen in that unforgettable premier issue, maverick scientist Reed Richards, his fiancé Sue Storm, their close friend Ben Grimm – with Sue’s tag-along teenaged brother Johnny – survived an ill-starred and clandestine private space-shot after Cosmic Rays penetrated their ship’s inadequate shielding and mutated them all.

Reed’s body became elastic, Sue gained the power to turn invisible and the kid could turn into living flame, but poor, tragic Ben horrifically devolved into a shambling, rocky freak…

With this 11th collection of tales from “The World’s Greatest Comics Magazine” a new style is established. With Kirby gone, the staggeringly inventive imagination and rollercoaster of mind-bending High-Concept ideas gave way to far more traditional tales of characters in conflict, with soap-opera leanings and super-villain dominated Fights ‘n’ Tights dramas.

This volume – available in hardback and digital formats – covers Fantastic Four #105-116 (December 1970 – November1971) and opens with a context-setting Introduction from Jon B. Cooke, before issue #105 – illustrated by John Romita and inker John Verpoorten – began the low-key yet extremely effective suspense thriller ‘The Monster in the Streets!’

When Johnny’s Inhuman girlfriend Crystal is taken ill – preparatory to writing her out of the series completely – Reed’s examination reveals a potential method of curing the misshapen Thing of his Rocky curse.

Tragically, as he is preparing Ben Grimm for the radical process, a mysterious energy-beast starts tearing up the city. By the time ‘The Monster’s Secret!’ is exposed in #106 the team strongman is almost dead and Crystal is gone… seemingly forever.

Veteran inker Joe Sinnott returns in #107 in ‘And Now… the Thing!’ as John Buscema assumes the illustrator’s reins over Kirby’s other masterpiece (he had already been drawing Thor for four months starting with #182).

Here and now the unfortunate man-monster gains the power to become human at will. It seems the best of all possible outcomes but something isn’t quite right…

However, before Reed can investigate an old foe pops up again. Sort of…

Fantastic Four #108 was something of a surprise to fans. ‘The Monstrous Mystery of the Nega-Man!’ “reintroduced” a character never before seen. As covered extensively in the previous Masterworks collection, this was done by recycling large portions of a recently-rejected Kirby & Sinnott tale and adding new framing sequences illustrated by Buscema and Romita.

The mysterious Janus had tapped into the antimatter power of the Negative Zone once before and “now” he resurfaced to steal more by crashing through the portal in Reed’s lab. Unfortunately, this attracts the attention of extinction-event predator Annihilus, who had long sought entry into our life-rich universe…

Forced to follow the utterly mad scientist, Reed, Ben and Johnny once again face ‘Death in the Negative Zone!’ (Lee. Buscema& Sinnott) before FF #110 sees – thanks to a little arcane assistance from sorceress/babysitter Agatha Harkness – Reed escape doom in the anti-cosmos only to realise that “cured” Ben has become a lethally sociopathic threat to all humanity in ‘One from Four Leaves Three!’

Able to switch between human and monster forms, ‘The Thing… Amok’ rampages through New York, with Mr. Fantastic and the Human Torch desperately trying to minimise the damage their deranged friend inflicts on the city even as increasingly marginalised Sue Richards is packed off to tend baby Franklin beside eldritch governess Harkness…

With all of New York apparently against them, the embattled heroes are on the ropes when the Incredible Hulk joins the fracas for #112’s ‘Battle of the Behemoths!’.

As Sue finally and rebelliously returns, The Thing seems to have perished in the brutal battle that ensued when the monsters met, but once again Reed Richards saves – and cures – his best friend just as another menace materialises…

‘The Power of… the Over-Mind!’ reveals another insidious cosmic menace, this presaged and prophesised by an ominous warning from omniscient alien voyeur The Watcher.

The psionic super-menace then further incites civilian antipathy towards the FF in ‘But Who Shall Stop the Over-Mind?’ (inked by Frank Giacoia) before manifesting and physically trouncing the team.

With #115 Stan Lee surrendered the scripting role to Archie Goodwin, who revealed ‘The Secret of the Eternals’ (not the earthly proto-gods created by Kirby, but an ancient alien race) in a visually stunning sequence limned by Buscema & Sinnott which culminates in Reed being taken over by the Over-Mind and turning on his erstwhile comrades…

The graphic narrative concludes here with double-sized Fantastic Four #116, featuring ‘The Alien, the Ally, and… Armageddon!’ as the defeated and embattled heroes, unable to access any superhero assistance, recruit deadly foe Doctor Doom to lead them in final battle against the unbeatable Over-Mind.

They are nonetheless crushed and only saved at the crucial moment by a most unexpected saviour in ‘Now Falls the Final Hour!’

Did I say concludes? Not quite; as there’s still room for the Romita/Verpoorten cover to all-reprint Fantastic Four Annual #8; a stunning house ad; the rare misprinted pink-&-green cover for FF #110 and brace of Buscema original art covers to delight and enthral…

Although sacrificing spectacle and wonder for simple continuous conflict, the Fantastic Four remained at the heart of the Marvel Universe for years, offering furious Fights ‘n’ Tights thrills to delight and beguile. Why not check out how and why?
© 1970, 1971, 2017 Marvel Characters, Inc. All rights reserved.

Avengers Marvel Masterworks volume 10


By Roy Thomas, Neal Adams, Sal Buscema, Barry Windsor-Smith, John Buscema, & various (Marvel)
ISBN: 978-0-7851-3331-5 (HB)

One of the most momentous events in Marvel Comics history occurred in 1963 when a disparate array of individual heroes banded together to stop the Incredible Hulk.

The Avengers combined most of the company’s fledgling superhero line in one bright, shiny and highly commercial package. Over the decades the roster has unceasingly changed, and now almost every character in their universe has at some time numbered amongst their colourful ranks…

The Avengers always proved that putting all one’s star eggs in on single basket paid off big-time; even when all Marvel’s all-stars such as Thor, Captain America and Iron Man were absent, it merely allowed the lesser lights of the team to shine more brightly.

Of course, all the founding stars regularly featured due to a rotating, open door policy which meant that most issues included one of any reader’s favourites. The increasingly bold and impressively ambitious stories and artwork were no hindrance either.

This sturdy hardcover and eBook compilation gathers the astounding contents of Avengers issues #89-100 collectively spanning June 1971 – June 1972: a riot of cosmic calamity which confirmed scripter Roy Thomas as a major creative force in comics whilst simultaneously demonstrating the potential the “debased” medium could aspire to.

At the time Thomas’ bold experiment was rightly considered the most ambitious saga in Marvel’s brief history: astounding sagas of tremendous scope which dumped Earth into a cosmic war the likes of which comics fans had never before seen. The Kree/Skrull War set the template for all multi-part crossovers and publishing events ever since and it was followed by another astounding epic proving that more and better was to come…

Following Thomas’s lengthy discourse on how it all happened in his Introduction, the drama begins relatively quietly as marooned Kree warrior Captain Marvel is finally freed from virtual imprisonment in a ghastly antimatter universe.

Mar-Vell was originally sent as a spy to Earth but he quickly went native and became a protector of humanity. After an intergalactic mission to save his former masters he was flying back to Earth when he was suddenly sucked into the anti-matter hell of the Negative Zone

The trapped warrior found a loophole through long-dormant Kree artefacts and Nega-bands. Inextricably bonding to professional human side-kick Rick Jones, he could switch places whenever danger loomed, but would be drawn back into the dread domain after three hours.

Following interminable, agonising months when Rick refused to trade atoms with his alien alter ego, ‘The Only Good Alien…’ (art by Sal Buscema & Sam Grainger) sees the bonded brothers finally separated just as, in the distant Kree Empire, the ruling Supreme Intelligence is overthrown by his enforcer Ronan the Accuser

On Earth, the rebellion results in the activation of a long-dormant robotic Kree Sentry which attacks Mar-Vell and the Avengers before enacting a deep-programmed protocol to devolve humanity to the level of cavemen in concluding chapter ‘Judgment Day’ (drawn and inked by Sal B)…

Even with Ronan taking personal charge of a compromised polar base, the scheme to eradicate humanity is narrowly defeated in ‘Take One Giant Step… Backward!’, but the cat is let out of the bag about the panic-inspiring notion that extraterrestrials lurk among us. Moreover, public opinion turns against the heroes for concealing the threat of repeated alien incursions…

In a powerful allegory of the anti-Communist witch-hunts of the 1950s, the epic expands in issue #92 (Sal B & George Roussos) as ‘All Things Must End!’ sees riots in American streets and a political demagogue capitalising on the crisis. Subpoenaed by the authorities, castigated by friends and public, the current team – The Vision, Scarlet Witch and Quicksilver – is ordered to disband by founding fathers Thor, Iron Man and Captain America.

Or are they…?

The plot thickens as Neal Adams & Tom Palmer assume the chores with double-sized Avengers #93 and ‘This Beachhead Earth’. Here the Vision is nigh-fatally attacked and those same founding fathers evince no knowledge of having benched the regular team.

With original Ant-Man Henry Pym undertaking ‘A Journey to the Center of the Android!’ to save the Vision’s artificial life, the Avengers become aware of not one, but two hostile alien presences on Earth: bellicose Kree and sinister, seditious shape-shifting Skrulls. The revelation triggers a ‘War of the Weirds!’ on our fragile globe.

Acting too late, the human heroes are unable to prevent mutant siblings Scarlet Witch and Quicksilver as well as their protector Mar-Vell from being abducted by the Super-Skrull

With more stunning Adams art, ‘More than Inhuman!’ in issue #94 entangles the long-hidden race of advanced beings called Inhumans in the mix, disclosing that their advanced science and super-powers are the result of genetic meddling by the Kree in the depths of prehistory. Now, with Inhuman king Black Bolt missing and his mad, malign brother Maximus in charge, the Kree are calling in their ancient markers…

Second chapter ‘1971: A Space Odyssey’ (pencilled by John Buscema) focuses on Mar-Vell as he is increasingly pressured to reveal military secrets to his shape-shifting captors. The Skrulls are ready to launch a final devastating all-out attack on their eons-old rivals, even as on Earth ‘Behold the Mandroids!’ exposes the American authorities attempting to arrest all costumed heroes…

In Avengers #95 ‘Something Inhuman This Way Comes…!’ coalesces the disparate story strands as aquatic Inhuman Triton helps defeat the US government robotic Mandroids before beseeching the beleaguered heroes to find his missing monarch and rescue his people from the pressganging Kree.

After so doing, and with a solid victory under their belts at last, the Avengers head into space to liberate their kidnapped comrades and save Earth from becoming collateral damage in the impending cosmos-shaking clash between Kree and Skrulls…

‘The Andromeda Swarm!’ (with additional inking from Adams and Al Weiss) is perhaps the Avengers’ finest hour, as a small, brave band of valiant heroes hold off an immense armada of star-ships, losing one of their own in the conflict. Meanwhile the Supreme Intelligence is revealed to have been pursuing its own clandestine agenda all along, after having bewildered sidekick Rick Jones abducted to further its terrifyingly ambitious plans….

The astounding final episode ‘Godhood’s End!’ brings the uncanny epic to a climactic close with a literal Deus ex Machina as the Supremor’s master-plan is finally revealed. However, the war is actually ended by the most unlikely of saviours and an avalanche of costumed heroes: an action overload extravaganza which has never been surpassed in the annals of Fights ‘n’ Tights fiction…

Even after saving the world, life goes on and seemingly gets more dangerous every day. ‘Let Slip the Dogs of War’ (Avengers #98, by Thomas, Barry Windsor-Smith & Sal Buscema) sees harried heroes Captain America, Iron Man, Vision, Quicksilver, Scarlet Witch and Thor debating the loss of their comrade Goliath, missing in action since he explosively stopped an alien warship from nuking Earth…

As the Thunderer heads for Asgard and its magic scrying mirrors, the fruitless debate is curtailed as war-mongering demagogue Mr. Tallon incites riot in the streets of New York. The gathered crowds attack the Avengers when they tried to quell the unrest and it is soon evident that the war-hawk has supernatural assistance.

…And in the dimensional void the Thunder God discovers all access to the Immortal Realms has been cut off…

By the time Thor returns to Earth his comrades are bewitched too. Joining with the seemingly immune Vision in a last-ditch, hopeless battle, the Storm Lord fights his best friends until the tide is turned by a perfectly aimed arrow, heralding the return of Goliath to his original Hawkeye identity…

Moreover, he has with him another Avenger: an amnesiac Hercules, Prince of Power, whose only certain knowledge is that Earth and Asgard are doomed…

Inked by Tom Sutton ‘…They First Make Mad!’ expands the epic as the Avengers call on all their resources to cure Hercules and decipher his cryptic warning whilst the World’s leaders seem determined to catapult the planet into atomic Armageddon.

As Hawkeye explains his miraculous escape from death in space and how he found Hercules the call goes out, summoning every hero who has ever been an Avenger. Suddenly two Grecian Titans materialise to trounce the team, dragging the terrified Prince of Power back to Olympus…

The epic ends in the staggeringly beautiful anniversary 100th issue ‘Whatever Gods There Be!’ (inked by Smith, Joe Sinnott & Syd Shores) as thirteen Avengers – including even the scurrilous Swordsman and blockbusting Hulk – indomitably invade the home of the Hellenic Gods to discover old enemy Enchantress and war god Ares are behind the entire malignant plot…

This titanic tome is packed with extra treats, including the cover of all-reprint Avengers Annual #5 plus the covers and new bridging material created by Alan Zelenetz, Walt Simonson & Palmer for the 1983 Kree-Skrull War starring the Avengers reprint miniseries. Also on show is Neal Adams’ take on the creation of the tale in ‘Three Cows Shot me Down’, supplemented by his cover for the 2000 and 2008 trade paperbacks. Upping the ante are original art pages and a selection of his un-inked pencil pages to delight every fan of fabulous Fights ‘n’ Tights fantasy action…

Roy Thomas and his artistic collaborators were always at the forefront of Marvel’s second generation of creators: brilliantly building on and consolidating Lee, Kirby and Ditko’s initial burst of comics creativity whilst spearheading and constructing a logical, fully functioning wonder- machine of places and events that so many others could add to.

These terrific tales are ideal examples of superheroes done exactly right and also act as pivotal points as the underdog company evolved into a corporate entertainment colossus. There are also some of the best superhero stories you’ll ever read…
© 1971, 1972, 2015 Marvel Characters, Inc. All rights reserved.

Incredible Hulk Marvel Masterworks volume 5


By Stan Lee, Roy Thomas, Herb Trimpe & various (Marvel)
ISBN: 978-0-7851-3491-6 (HB)

As the 1960s drew to a socially-divisive close, the Incredible Hulk was settling into a comfortable niche and enjoyable formula as tragic nuclear scientist Bruce Banner wandered America and the world, seeking cures for his self-inflicted gamma-transformative curse, alternately aided or hunted by prospective father-in-law US General “Thunderbolt” Ross and a variety of guest-star heroes and villains.

Writer Stan Lee was gradually distancing himself from the creative chair as he became Marvel’s publisher, and neophyte artist Herb Trimpe was increasingly making the character his own with the “standard-received” Jack Kirby-originated house art-style quickly evolving into startlingly abstract mannerism, augmented by an unmatched facility for drawing technology… especially honking great ordnance and vehicles.

And of course, as comics readers increasingly turned to monsters and supernatural themes, no one could deny the cathartic reader-release of a mighty big “Hulk Smash” moment…

This chronologically accurate hardback and eBook compendium contains Incredible Hulk #111-121, spanning January-November 1969 and opens after a charmingly self-deprecating Introduction from Trimpe.

Then it’s on to the bombastic action, as a shocking cliffhanger from the previous volume is resolved…

Umbu the Unliving was yet another extraterrestrial device left to facilitate Earth’s demise, but Banner and his green alter-ego had destroyed it with the assistance of Savage Land jungle lord Ka-Zar, albeit at the cost of Banner’s life. Now its makers come looking for the saboteurs at the behest of their tyrannical cosmic overlord, Galaxy Master in ‘Shanghaied in Space!’ (by Lee, Trimpe & Dan Adkins), using their arcane technologies to reanimate Banner’s corpse so they have a scapegoat to hand to their demonic boss…

Transported to the heart of the evil empire, ‘The Brute Battles On!’, eventually destroying the inimical energy being and sparking a revolution before being rocketed back to Earth by a grateful alien princess…

Issue #113 finds the recently returned Hulk brutally battling an upgraded Sandman in ‘Where Fall the Shifting Sands!’, before the sinister silicon villain pops right back a month later beside the Mandarin in #114’s ‘At Last I Will Have My Revenge!’; two fast-paced power-packed yarns to whet jaded (sorry, puns are my kryptonite!) appetites for the extended return of the Jade Giant’s greatest foe.

‘The Leader Lives!’ opens with the man-monster a prisoner of the US Army, when the long-believed-dead gamma genius – as smart as the Hulk is strong – taking control of the base for his own nefarious purposes.

The Eve of… Annihilation!’ reveals the Leader’s atomic Armageddon plans for our pitiful planet even as the indomitable Hulk escapes a seemingly perfect prison with the aid of the always-unpredictable Betty Ross before the saga explosively concludes in countdown-clock thriller ‘World’s End?’, notable not just for its cataclysmic dramatic conclusion, but also for Trimpe taking over the inking of his own pencils.

Incredible Hulk #118 (August 1969) depicts a duplicitous courtier at the Sub-Mariner’s sunken citadel orchestrating ‘A Clash of Titans’ (as related by Stan Lee and Trimpe) after which the green Goliath stumbles into a South American secretly country conquered by and ‘At the Mercy of… Maximus the Mad’: a two-part tale that concludes with the Roy Thomas scripted ‘On the Side of… the Evil Inhumans!’

This all-out action extravaganza sees the Hulk also fighting the Costa Salvador army, the ubiquitous moustachioed rebels, General Ross’ specialist US army forces and even a giant hypnotic robot before giving way to a moodier menace as Ol’ Greenskin returns to North America…

Wrapping up this tome is a soggy interlude in Florida where the man-monster learns ‘Within the Swamp, There Stirs… a Glob!’

Designed as tribute in equal parts to Theodore Sturgeon’s “It” and the Hillman Comics Character The Heap – who slopped his way through the back of Airboy Comics in the early 1950s – this muck-encrusted monstrosity predates both DC’s Swamp Thing and Marvel’s own Man-Thing in a tale of woeful tragedy and unrequited love when the remains of a long-dead escaped convict are accidentally irradiated and take on a shambling semblance of life.

Surely it’s just bad luck that Betty and the Hulk are in its misanthropic path?

Adding even more lustre and appeal to this tome are the cover to Incredible Hulk Annual #2 and Marie Severin’s colour-guide to #119’s cover.

This titanic tome of Hulk heroics offers visceral thrillers and chaotic clashes overflowing with dynamism, enthusiasm and sheer quality: full-on, butt-kicking, “breaking-stuff” yarns to enthral and delight the destructive eight-year-old in everyone. Just remember to read, not do…
© 1969, 2007, 2018 Marvel Characters, Inc. All rights reserved.

The Black Panther Epic Collection volume 1 1966-1976: Panther’s Rage


By Stan Lee & Jack Kirby, Don McGregor, Rich Buckler, Gil Kane, Billy Graham, Keith Pollard, Klaus Janson & various (Marvel)
ISBN: 978-1-3029-0190-5 (TPB)

Acclaimed as the first black superhero in American comics and one of the first to carry his own series, the Black Panther’s popularity and fortunes have waxed and waned since he first appeared in Fantastic Four.

In fact, the cat king actually attacked Marvel’s First Family as part of an extended plan to gain vengeance on the murderer of his father. He was also the first black superhero in American comics, debuting in summer 1966.

As created by Jack Kirby & Stan Lee, T’Challa, son of T’Chaka, is an African monarch whose secretive kingdom is the only source of vibration-absorbing wonder mineral Vibranium. The miraculous alien metal – supposedly derived from a fallen meteor which struck the continent in lost antiquity – is the basis of the country’s immense wealth, enabling Wakanda to become one of the wealthiest and most secretive nations on Earth. These riches also allowed the young king to radically remake his country, creating a technological wonderland even after he left Africa to fight as one of America’s mighty Avengers.

For much of its history Wakanda has been an isolated, utopian technological wonderland with the tribal resources and people safeguarded and led since time immemorial by a human warrior-king deriving cat-like physical advantages from secret ceremonies and a mysterious heart-shaped herb. This has ensured the generational dominance of the nation’s Panther Cult and Royal Family…

The top-secret “Vibranium mound” had guaranteed the country’s status as a clandestine superpower for centuries but in modern times has increasingly made Wakanda a target for subversion, incursion and even invasion as the world grew ever smaller.

This trusty trade paperback (and eBook) gathers the dynamic debut from Fantastic Four #52-53 (cover-dated July and August 1966) and the groundbreaking solo stories from Jungle Action volume 2 #6-24, spanning September 1973-November 1976.

Before that though, the innovative and unforgettable character debuted in ‘The Black Panther!’: an enigmatic African monarch whose secretive kingdom was the only source of a vibration-absorbing alien metal. These mineral riches had enabled him to turn his country into a technological wonderland before he lured the FF into his savage super-scientific kingdom as part of an extended plan to gain vengeance on the murderer of his father.

After battling the team to a standstill, King T’Challa revealed his tragic origin in ‘The Way it Began..!’, detailing how his father was murdered by marauding sonic science researcher Ulysses Klaw. As the monarch details how he took vengeance and liberated his people, word comes of incredible solidified-sound monsters attacking the region. Klaw has returned at last…

The cataclysmic clash that follows set the scene for the African Warrior-Chieftain to guest star with a number of Marvel superstars before breaking out into the wider world, but it would years before he finally won his own solo series…

After wandering around the Marvel Universe, enjoying team-ups and saving the world on a semi-regular basis as one the “Earth’s Mightiest Superheroes”, the summer of 1973 saw the Black Panther finally become a solo star in his own series.

Scripter Don McGregor opted to return the King to his people for an ambitious epic of love, death, vengeance and civil war: inventing from whole cloth and Kirby’s throwaway notion of a futuristic jungle the most unique African nation ever seen…

Jungle Action launched with an October 1972 cover-date, a cheap reprint vehicle for old Atlas-era Tarzan and Sheena knock-offs like Tharn, Jann and Lorna (…of the Jungle). The fifth issue (not included here) abruptly changed tack, reprinting the Black Panther-starring saga from Avengers #62 as prelude to the start of T’Challa’s own all new adventures, which open here with # 6 and the eponymous ‘Panther’s Rage’ illustrated by Rich Buckler & Klaus Janson.

The story opens with the Panther back in his contradictory African homeland, stumbling upon the torture of an elderly farmer. Despite T’Challa’s best efforts the victim dies in his arms, swearing he never lost faith in king or country…

Learning the attack is the work of brutal rebel leader Erik Killmonger, T’Challa sets all the resources of his inner court circle to finding the monster. With reports of further atrocities mounting, he leaves his American lover Monica Lynne to hunt the perpetrators and soon confronts his potential usurper at the potently symbolic Warrior Falls roaring above the life-sustaining River of Grace and Wisdom.

The barbarous-seeming giant is not cowed by the Panther’s power or prowess and easily wins the no-holds barred battle that follows…

The initial episode is supplemented by detailed maps of Wakanda (the first fans had ever seen) before JA #7 mobilises ‘Death Regiments Beneath Wakanda’. Barely surviving his fight with Killmonger, T’Challa is nursed back to health by Monica at the Palace even as hideously disfigured American Horatio displays his skill with snakes and poisons to his friend N’Jadaka.

Known to their recruits as Venomm and Erik Killmonger, these rebel leaders plot their next attack which results in the reptilian insurgent ambushing T’Challa when the king investigates an illegal mine. This shocking atrocity is being used to siphon off raw Vibranium to pay for Killmonger’s increasingly violent and widespread attacks on the outlying population centres…

Although triumphant this time, T’Challa realises this is a many-layered war: one he might not win…

Whilst the Black Panther renews his powers through ancient ritual, Jungle Action #8 introduces another super-powered rebel with ‘Malice by Crimson Moonlight’ revealing a spear-wielding wonder woman invading the Royal Palace.

Advisor Taku is interrogating Venomm – and gradually making inroads into turning the bitter outcast – when Malice attacks. Only the power of the Panther saves the servitor and prevents the brutal jailbreak from succeeding…

After more maps of the hidden country and detailed plans of ‘Central Wakanda’s Palace Royale’ the saga resumes in #9 with ‘But Now the Spears Are Broken’ (illustrated by Gil Kane & Janson) as T’Challa goes in-country to learn the effects of the power struggle on ordinary Wakandans.

After saving little boy Kantu from a rhino, the king is made painfully aware that the common people view his foreign woman Monica with as much suspicion as the constantly-raiding insurgents. That feeling even penetrates to the heart of the palace. When advisor Zatama is murdered, Monica is arrested for the crime…

T’Challa is not there to protest or defend her; he has returned to Kantu’s village to investigate strange disappearances, discovering a seeming mass-rising of zombies led by a skeletal maniac called Baron Macabre. Once more the Great Cat is forced to ignominiously retreat…

Supreme stylist Billy Graham takes over the pencilling with #10 as the Black Panther returns to the zombie nest, exposing a cunning charade beneath the deserted village as well as a super-scientific base run by a malignant, mind-warping mutant in ‘King Cadaver is Dead and Living in Wakanda!’

Accompanying the dark drama here are examples of ‘Black Panther Artistry’ – specifically, Kirby’s first designs for the hero back when he was going by the provisional title of ‘The Coal Tiger’ and Buckler and Janson’s first depiction of ‘Erik Killmonger’

Due to an extremely unfavourable publishing schedule, Panther’s Rage unfolded with agonising slowness, but the lengthy wait between episodes allowed McGregor the latitude to pick and choose key events, with readers accepting that some stuff was actually occurring between issues.

In #11 (September 1974), the civil war had proceeded unchecked and ‘Once You Slay the Dragon!’ sees the Panther and his forces launching a long-awaited counterattack on Killmonger’s base in N’Jadaka Village. The battle is vicious and brief, introducing yet another powered lieutenant in the shape of pitiless high-tech armourer Lord Karnaj

And on the home front, T’Challa finally clears Monica and captures Zatama’s killer…

With Killmonger temporarily pushed back, the Panther goes on the offensive, using the rebel’s most inconsequential converts – Tayete and Kazibe – as guides to follow his ultimate enemy to his most secret strongholds. Heading into the mountains and the fabled Land of Chilling Mists, the Panther discovers mutagenic temple the Resurrection Altar.

Used by Killmonger to create his grotesque super-warriors, it is presided over by scientifically-spawned vampire Sombre. When T’Challa confronts them, he is again overpowered by Erik and left for the wolves to devour in ‘Blood Stains on Virgin Snow!’

Craig Russell inked the next chapter as, enduring incomprehensible hardships in sub-arctic conditions, T’Challa perseveres to follow Killmonger into the temperate swamps of Serpent Valley in #13.

However, this is only after facing a pack of Wakanda’s white apes. To survive, the Panther must blasphemously ignore the sacred (to many of his subjects) religious aspect of the mighty carnivores and become ‘The God Killer’

Following a Venomm pin-up, JA #14 then reveals that ‘There Are Serpents Lurking in Paradise’ (inked by Pablo Marcos) as T’Challa clashes once more with Sombre before encountering an affable forest sprite guarding Serpent Valley.

Pixie-like Mokadi asks difficult moral questions as T’Challa rushes towards his next battle with Killmonger, making him too late to stop the rebel capturing a legion of the valley’s awesome dinosaurs. The usurper even has time to leave one behind as a lethal parting gift for the embattled and exhausted Wakandan chieftain…

The endgame rapidly approaches in #15 as ‘Thorns in the Flesh, Thorns in the Mind’ (inked by Dan Green) finds T’Challa still tracking his nemesis only to be overcome by Killmonger’s archer assassin Salamander K’Ruel. Beaten and left to be dismembered by a ravenous Pterosaur, T’Challa incredibly overcomes every challenge before – against all odds – staggering back to Monica for another bout of recuperation…

Graham inked his own pencils for the beginning of the end in #16 as T’Challa and Monica’s time of idyllic passion culminates in catastrophe when ‘And All Our Past Decades Have Seen Revolutions!’ reveals the origins of Killmonger and sees the vast cast all converge for one final battle…

That comes in #17 as an army of war-trained dinosaurs invades Central Wakanda only to be finally crushed by the Panther’s forces and superior technology. The affair concludes as it began at Warrior Falls, but ‘Of Shadows and Rages’ also holds a shocking twist as the great game of kings is ultimately decided by a player no one considered of any relevance…

With its nuanced emotional interplay, extended scope and fiercely independent supporting cast, Panther’s Rage was a milestone in dramatic comics storytelling but it harboured one last punch in a gripping 18 ‘Epilogue!’ (Jungle Action #18, November 1975).

Bob McLeod inked McGregor & Graham’s forceful look at the repercussions of conflict as T’Challa and maimed security chief Wakabi are targeted by feral woman Madame Slay: Killmonger’s ardent and unsuspected lover who believes her loss can only be assuaged by having her pack of loyal leopards eviscerate the victorious Wakandans…

Cover-dated January 1976, Jungle Action #19 premiered McGregor’s most audacious and ultimately frustrating project, with T’Challa accompanying Monica back to America. The Panther versus the Klan shifted focus from war stories to crime fiction, replacing fabulously exotic Africa for America’s poverty-wracked, troubled, still segregated-in-all-but-name Deep South for a head-on collision with centuries of entrenched and endemic racism.

Illustrated by Graham & McLeod, ‘Blood and Sacrifices!’ sees Monica back with her family after her sister is murdered. All too soon T’Challa is ferociously battling a gang of purple-hooded killers who appear to have set up in opposition to the ancient white-hooded Ku Klux Klan.

Moreover, both sects seem determined to conceal the truth of Angela Lynne’s death…

A break comes when bumbling, well-meaning reporter Kevin Trublood stumbles into an attack on the newcomers by the strangely multi-racial Klan sect calling itself the Dragon Circle

With neither townsfolk nor lawmen offering any welcome, T’Challa faces unbridled hostility and suspicion at every turn. He is even attacked by cops and a mob of citizens when he thwarts a knife attack on Monica. Although Sheriff Roderick Tate makes all the right noises and seems helpful, in ‘They Told Me a Myth I Wanted to Believe’, the Panther opts to pursue his own investigation before being overwhelmed by an army of white-robed Klansmen who tie him to a burning cross and leave him to die…

As Monica and Kevin puzzle out the convoluted web of mysteries, the Panther exerts all his uncanny talents to escape becoming ‘A Cross Burning Darkly Blackening the Night!’ Later, as he slowly recovers in hospital, Monica’s family, Kevin and Tate review the few verifiable facts of Angela’s demise before patriarch Lloyd Lynne urges T’Challa to stop looking. He only has one daughter left after all…

Nevertheless, when the Panther and Trublood invade and disrupt a Klan rally, Lloyd is right there with them…

With Rick Buckler joining Graham on pencils and Jim Mooney alternating with McCleod on inks, Jungle Action #22 takes a bizarre turn as ‘Death Riders on the Horizon’ explores a Lynne family legend dating back to the formative days of the Klan in 1867 when old Caleb was targeted by the vile southern knights and their seemingly supernatural sponsor the Soul Strangler. As Monica listens to the ghastly, appallingly unjust tale, her mind fills in how T’Challa would have acted in such a hopeless situation…

Issue #23 (September 1976) was a deadline missed and a rapidly-sourced reprint from Daredevil #69 – represented here only by the pertinent cover and a Buckler pin-up – before this tantalising tale is unhappily cut short in final published instalment ‘Wind Eagle in Flight’ (by McGregor, Buckler & Keith Pollard).

The multi-layered, many-stranded plot suddenly expands as the Black Panther is almost killed by a mysterious new player who flies into the ever more bewildering clash between cops, Klan, Dragon Circle and Lynne family but, before the mystery could move any further, Jungle Action was cancelled…

A wholly different kind of Black Panther and utterly unrelated adventures would reappear two months later, under the auspices of returning creative colossus Jack Kirby. It would be years before the enigma of Angela’s death and the hero’s war against the Klan would be resolved…

So that’s what to look forward to in the next volume…

Here, however, bonus extras include Kirby & Sinnott’s unused original art cover for FF#52, John Romita’s cover for Jungle Action #5; McGregor’s correspondence with then-fan Ralph Macchio and the author’s original working notes, plot synopses and candid contemporary photos of the close-knit creative team.

Also on show: original cover art, pages and sketches by Buckler & Janson and Kane; pencils and layouts by Graham & Buckler plus a Steve Gerber ‘Jungle Re-Actions’ text feature from Jungle Action #7. Capping off the freebie joys are the un-inked Buckler story pages that would have been #25.

A truly groundbreaking classic of comics narrative, Don McGregor’s Black Panther is stark, vibrant proof that the superhero genre works best when ambitious and passionate creators are given their head and let loose to get on with it. Now, supported by a major movie, perhaps readers will finally see how the Fights ‘n’ Tights game should be played…

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